NEIGHBORHOOD WATCH VOL. 1

 

IN-HOUSE x No.Errors 

Welcome to Neighborhood Watch- a series where we sit down with some of the most dynamic creatives in the industry and candidly discuss their influences, inspirations and how they plan on putting their stamp on fashion industry for years to come.

Today, we’re lucky to have sat down (virtually) with Rashaun Pauleon - founder of No.Errors. His pieces exude self expression and look to bridge the gap between high end streetwear and essential basics. From balaclava face masks, to colorful beanies to uniquely cut items, No Errors is a truly unique, imaginative brand and an important part of our IN-HOUSE community.

IH: I’m glad we met through IN-HOUSE and I personally love your pieces, as I do have a few myself. How does Rashaun come out when he creates these clothes? How would you describe your own fashion sense and how does your vision come through on No.Errors?

Rashaun: So I would say I'm still trying to find it. I was actually talking to my friends about that recently. Styling is really hard, like, surprisingly hard. And you really take it for granted and having style. So, recently it changes all the time. Recently I've been a lot more colorful than I was before. I (used to) be very simple. But now I've been mixing, and even right now, I can see all the colors on this and that. And then I have this tie dye shirt that's, like a bunch of different colors… I like a real big focus on color recently, especially even in my work. It's translated into my work and trying to find different complementing colors or, like, clashing colors that still kind of work because they're so off. And then you push that idea of having colors that don't mix so far that it starts to work. I've been, like, experimenting with that a lot lately.

IN-HOUSE is a New York based collective and part of New York culture is being the melting pot of all cultures from around the world. How has being from Atlanta shaped you and your style? 

Atlanta just like flashy, like anything flashy. And I guess I've noticed that in myself recently- that I have been dressing more stereotypically Atlanta. I'll have the Burberry belt with the big buckle. I'm like, back in high school, back when it was in its' prime for me, but I hated that stuff. I was never on the preppy boy, polos and stuff like that. But now I'm really pushing it, really falling into it and starting to see that little bit more like flashiness and just more like, Yo, you guys have to look at me like, I need the attention.

Where do you kind of see yourself being in the next couple of years? Like, do you want to be that type of high end brand or do you want to stay kind of in your room where you know that your price range is accessible to everybody, but you're really focused on the products and what makes it great?

Well, right now I have two ways I could either take this. So no, I originally never really even wanted to have a brand. Having a brand was just me making a shirt with my friend for fun. And we just ended up falling into it and then I just ended up like working with other people and stuff like that. I can either take it and take no areas well before I pursue that. I always say No.Errors is like my Pyrex. I'm not, you know, that much about, like early Virgil. Yeah, like the stuff that they were doing with Pyrex 23, which was basically like Virgil, Matthew Williams, Heron Preston, but that was like what they all did before they made their elites… NO ERRORS here presents like a personal brand. So it was basically like their experimental phase where they were learning, getting their name out there. And then they took their clientele from that, from their like regular screen printing, like street wear, turning into a little business.

Then they went and brought it to high fashion. That's how you have Virgil do an Off-White and it's morphed into his Louis job. Or, you know, Matthew Williams, that sort of a style comes from just screen printing t shirts and then those (on the) edge of launching. So I'm thinking about treating No Errors as my Pyrex. It's my entry level, my starting off, my experimenting, trying to learn how this stuff works. And then I could eventually level up and then do actual stuff when I could financially support it. 

I think NFTs are going to thrive where they're redeemable. So let's say a YouTuber has a discord or something. And I take the NFT to the little community with the fans, where they get exclusive content. I don't know, maybe discord or whatever, or just give a small little community members a discounted sales code on every single thing. But the only way you could be a part of that community is if you have the NFT. But there will be only a limited amount of spaces because there are only a limited amount of the NFT’s. So it's like, that's the only way I could actually see this stuff going. You know, like having longevity is having things associated with it. Let's say like artists or a rapper or somebody does an NFT and you get like five exclusive concerts that you guys only get once a year.

With the one NFT that I do have now, it's a puffer that I made last year, and it was one of my most like hyped up pieces that never got to put into production because I developed it too late into the fall season, and it would have been done by the time the production would start ended. Yeah so with the NFT that I have, I have the illustration like the original illustration of the puffer that I made. But now, I have the original illustration of the puffer that I designed and anyone who buys it, they would have gotten the puffer. Like the physical product and the puffer was a one of one sample and there were no other ones made. So you have this person with the power to get the art and the actual physical thing. So you get to see it come to life like you're drawing the drawing that you have. Actually, it gives me an incentive to actually put this concept into production because somebody wants somebody, so somebody's got to score.

I don't know, I like women's clothes, women's clothes are really cool, there is so much more detail, there is so much more freedom you have, you have a lot more liberties with it and even colors that you have. There are so many more colors and fabrics to experiment with. So trying to take some of those and trying to bring them into men's clothes just opened so much more. But you go in the store and you could see, like the men's classic black white black jacket with the blue collar and just regular boring stuff. You might get like a couple reds and blues, but everything's going to be like a tie in for like a woven cane or like a jersey. Yeah, that's really it. Then you could take women's clothes and then you have messages. You have lace. You have, like different kinds of stretchy ribs and you have so much more that you can work with. And I think, I could still have women's clothes still and then still have a unisex…

Now we're like, all right, where do we go? How many times are people going to be blown away by, like a man, like wearing a dress? Like, it's cool, but sure. But it's like there is something there. They are sort of like breaking the boundary and, you know, exposing people to more stuff even with things like painting nails and more of a feminine touch or a traditionally feminine touch. You see, a lot of women wear more baggy clothes and simply, they're just trying to go back and win things. And I think when you mix things up, it just adds so much more character to it and you are way less limited.

I have my set of a couple of brands like Helmut Lang, it's always like one of my go to’s I always say. It's like one of my biggest inspirations because they take basics like it'll take like a regular T-shirt or a jacket and then just break that down the concept or just break the silhouette. And it would just be like literally their whole store. Just think about Gap, but just take and twist something just slightly and change it up a bit like they can have a cut on the arm or something like that that you just can't have or even take like a basic long sleeve shirt, Alexander Wang used to do this, and make the next the neckline just just one inch bigger or a little bit wider. It's those light little details like that's the stuff that I love… Acne is so good with the colors and then the way that they use their silhouettes of fabrics. But why project for the avant garde?

Just completely taking the concept of clothes and just flipping it on the heads, skewing it. I could use the distort tool on Photoshop, that's what my project looks like to me… There's Off-White, of course, because Virgil is like the blueprint for any young black artist. Matthew Williams for the beautiful tailoring, the consistent moods, his colors. It's also very melancholy and very light, like industrial and like red. Trying to think of what else I really look up to. Some friends, Blu or his colors and concepts great. There are characters in his branding. And then there's Elijah with his very distinct dying styles. And dying of bleaching, like all those like little signatures, like I always look up to people that have distinct signatures. And I always think, do I have a signature that I like subconsciously have because I don't think I have it. My cast is strong but, I love seeing a little signature thing like people's art. 

No Errors has so many bright and wonderful pieces featured here on IN-HOUSE. Our Beanie is perfect for the fall and winter and works well to brighten up your outfit. Stay tuned for our next post and shop below for more!